This includes the Shoulder Kit and B4 mount, so it can be easily adapted to broadcast, reality, documentary, and similar applications. The Shoulder Kit includes the base with 15mm rod clamps, top handle, extension arm with rosettes to get grip into normal shoulder hand position, and extended LANC cable. Can also accept VCT-14/VCT-U14 style quick release tripod plate. Also has plate that needs to be installed if you want to add the URSA mini viewfinder. It is missing the pad below handle when viewfinder not installed, but top handle still attaches securely.

The B4 lens mount allows you to use 2/3" ENG broadcast style lenses from Canon and Fujinon on your URSA in HD resolution (doesn't work in 4K). Features corrective optics to counteract abberrations. Servo functionality can be enabled by connecting to lens port on the URSA body. Shims, caps, screws, and installation instructions are included. Note that lens mount changes requires a torque wrench/driver set to 0.45Nm and 2mm bit.

Includes the valuable Red Ti PL mount (titanium for extra strength ideal for heavy/long lenses). This also has the side handle (for camera control, Redvolt battery usage, and of course grip). Lastly comes with the 1.8" Redmag SSD side module and AC power supply.

The Sony PDW-700 is a XDCAM HD422 2/3" broadcast ENG camcorder. Features Power HAD FX (three 2/3" CCD), 14-bit A/D converter, 50Mbps data rate, 1080P recording at international PAL/NTSC framerates to MXF format, HD/SD conversion and cross conversiion between 1080i / 720P, recording to single and dual layer XDCAM optical discs, ND wheel, thumbnail scene selection, 2x HD-SDI output, i.LINK, ethernet, proxy data, metadata, interval recording, 3.5" LCD, 5-pin XLR stereo front audio and 3-pin XLR rear audio inputs, picture cache recording (up to 30 seconds), slow shutter, smooth gain control, focus magnification, and more. Records in 1080/50i, 1080/59.94i (60i), 1080/25P, 1080/29.97P, 720/50P, and 750/59.94P (60P). The XDCAM HD422 discs are reliable, durable, and long lasting - ideal for archiving. All of this is in a ENG shoulder mount form factor with precise audio/video customization, and ergonomic capabilities you'd expect from a high end broadcast camera.

Includes the valuable HDVF-20A viewfinder, a high quality 2" HD viewfinder. Has extra resolution to provide ample detail for discerning focus over cheaper viewfinders. Features contorls for zebra, tally, display/aspect, focus peaking, contrast and brightness.

This high definition 16x lens features a focal-length range of 6.3-101mm (12.6-202mm with extender). This is a useful range from fairly wide to telephoto. Fast maximum aperture of f/1.8. Macro functionality for focusing on objects close to lens. Takes 107mm filters in the lens hood. Internal focus designs to minimize focus breathing. Features servo zoom, manual focus, 16-bit encoder and 32-bit RISC processor in the lens, innerfocus, quickzoom (for rapid focus checking), zoom limit, zoom speed dial, focused intelligent network diagnosis. This is the M6 model as well, which features a software function developed for robotics applications and is a less costly option to Fujinon's Quick Frame option w/ 16-bit encoder and 20-pin connector - so if you need robotics functions this is capable. But of course this is perfect for anyl 2/3" ENG camera user as well.

The Wooden Camera PL mount (part 175900) is a simple non-electronic PL mount suitable for RED camera such as DSMC (Epic / Scarlet) and DSMC2 (Monstro / Helium / Gemini / Epic-W / Scarlet-W). Though doesn't pass lens data, does features a recessed area to protect Red data pins. Very high quality, machined from sturdy aircraft aluminum.

The Zeiss CP.3 XD 15mm T2.9 (model 2189-367) is a compact prime full-frame sensor coverage lens in PL mount, with marking in meters. This is the newer upgrade to the CP.2 with an updated form factor to be more similar to Ultra Prime lenses, improved mechanics, better T* lens coatings, even weight distribution. Increased anti-reflection masking for increased contrast and reduced flare. Has the signature Zeiss look, to match up well with other CP.3 lenses as well as any types of high-end Zeiss cinema lens. Features Zeiss eXtended Data (XD) technology combined with Cooke's /i lens metadata protocol. All information is transmitted in real-time via the 12 o' clock position on the PL mount or the 4-pin LEMO port. This technology allows for accurate focus pulling when combined with a rangefinder or recording alongside footage and applied in post. In particular, the recording of ZEISS-specific datasets enable DITs using Pomfort or DaVinci Resolve software to analyze recorded footage to remove distortion and shading in post-production (saves time especially for productions than plan on using VFX). Has the standard 95mm front diameter to be compatible easily with matte boxes, follow focus, and lens supports. 14-blade iris for pleasing round bokeh. Clickless iris ring and geared focus and iris control round out this very impressive lens.

The Zeiss 28-80mm T2.9 Compact Zoom CZ.2 PL mount cinema lens (model 2008-988) is a zoom lens optimized for motion picture production.Offers full frame (36x24mm) coverage with no focus shift over zoom range. Cine-style housing features calibrated focus scales and industry standard gearing for focus, zoom, and iris. Only 7.72" long and 5.5lb weight, making it ideal for applications such as handheld and Steadicam. Utilizes T* coating and internal light traps to supress flares and a circular 18-blade aperture for attractive bokeh. Imperial markings (in feet). 4K+ resolution ready high quality optics. Has the signature Zeiss look, to match up well with other Zeiss / Arri lenses. Excellent color, contrast, skintones, CA performance. It's like a Master Prime but with the convenience of a zoom lens. This is PL mount but lens mount is interchangeable if you ever want to convert it to Canon EF, Nikon F, Micro 4/3, Sony E, etc. Works well for Super 35mm and 4K cameras, but is ideal for 6K/8K full frame cameras like Arri Alexa LF, Red Monstro, Sony Venice, Sony A7S II, Canon C700 FF. It works with basically anything you have or will have, so is a "future proof" versatile lens.

The Sony AXS-512S24 is a high-speed 512GB flash memory card for recording high frame rate 4K and 2K 16-bit video onto the Sony AXS-R5 RAW recorder. The AXS-R5 docks directly to the PMW-F5 and PMW-F55 and via the HXR-IFR5 on the NEX-FS700, NEX-FS700R and PXW-FS7. This card has a guaranteed write speed of 2.4 Gbps and is compatible with the AXS-CR1 card reader.

This is a set consisting of the Arri Adapter bottom plate (K2.66246.0) and Shouler Pad (K2.66249.0) for the Sony PMW-F5 and PMW-F55. This plate makes the F5/F55 compatible with lightweight support standards, including a built-in Sachtler "Touch and Go" plate. With this, the camera can be mounted to a head or anything else with a standard quick release plate. Two steel rosettes on side allow accessories such as handles for handheld camera operation. For studio configuration, the adapter plate accepts studio bridge plates such as the ARRI BP-8 or BP-9. Front accepts 15mm rods for accessories such as matte box and follow focus. The Shoulder Pad attaches to bottom of camera or to an Arri baseplate. Increases comfort in handheld mode.

The Litepanels Hilio H72 (907-1001) is a small 10x14" footprint yet powerful LED light fixture capable of throwing daylight balanced 5600K illumination over a 20-25' (6.1-7.6m) distance. This functions as an HMI replacement with the equivalent luminance output of a 650W HMI fixture (or 1000W conventional tungsten). Ideal for exterior or interior use. Uses 95% less energy than conventional lights. Comprised of 72 one watt daylihgt LEDs focused to a 15 degree angle. Can dim from 0-100% without color shift, controllable via DMX or local dial. Filter slot holds two gel filters on front. Standard yoke design for easy positioning with 1–1/8" (28mm) diameter detachable junior pin. Integrated rear gimbal plate for accessory attachments. Has a silent mode switch to turn off cooling fans (if they come on) for critical shots where silence is desired. Very rugged housing and multi-voltage power supply for worldwide use.

The AG-BS300 (AG-BS300P / AG-BS300PJ) Digital Base Station is the core of the Panasonic P2Studio and 300Studio camcorder systems. Connects to the AG-CA300G / AG-CA300 (not included) camera adapter via 2 BNC cables and power cable to allow transmission of HD images, return images, tally, mic genlock distances of up to 100 meters (328 feet). One might also wish to add AJ-RC10G remote controller or AG-EC4G to complete the studio package. Supported camcorders include AJ-PX380, AG-HPX300, AG-HPX500, AJ-HPX3700, AJ-HPX2700, AJ-HPX3000, AJ-HPX2000, AJ-HDX900, and more. Studio300 cables (not included) are available in 25, 50, and 100 meter lengths. Digital signal transmission ensures high-quality, degradation-free images. Up to 70 watts of power can be supplied to the camcorder,* and a compact monitor and servo zoom can also be driven. Supports both AC (100 to 240 V) and DC (12V) power supplies. Features two HD-SDI / SD-SDI outputs and composite output. Menu, intercom, and tally/call functionality on front. Rackmountable configuration.

The Canon EF 50mm F1.0 L USM lens is an exceedingly rare super lens. It is the most advanced 50mm lens. Not only the fastest, but packed with technology such as two ground aspheric elements, autofocus, electronic focus, focus-by-wire, ultrasonic focus motor, and electronically actuated diaphragm. Ultra low light ability (1/2 to 2/3 stops faster than f/1.2 lenses). If you want to shoot in available light at high enough shutter speed to stop action in very low light, you need this lens. Provides a unique bokeh and extreme subject isolation with shallow depth of field that can't be duplicated by lesser lens - background can virtually disappear if needed. This is designed to be sharp and contrasty even wide open, though you need to focus perfectly for best results at f1.0 due to the extremely shallow depth of field. By design, there is strong falloff (vignetting) in corners at f1.0 especially in lower light conditions, minor at f/1.4, and no more at f/2. Useful for isolating the subject, though can easily be corrected in Photoshop if needed. This has instant manual focus override. Note the focus ring is an encoder that tells the motor what to do, so the manual focus will not operate unless lens is awake and communicating with body. This has a minimum focus distance of .6 meters (2 feet), so understand that you cannot focus on objects extremely close to the lens. It may have been made a long time ago, but has abilities that no other lens today can really match, even with some limitations as a result. This is not only a powerful lens, but a real collector's item.